Studio Lighting Design
Regardless of the size of the project or quality of camera package, lighting is a key to achieving professional and compelling images. The two areas of planning that can sometimes be given less than adequate budget and thought are set design and lighting design. Without these areas being executed well regardless of how much has been invested into other technology, images can and do appear two dimensional and flat.
At Cirro Lite our primary goal is to help produce images that are of a high and professional standard, our experience
in both the film, television and photographic industries places us in a unique position to offer the latest advice
and equipment to ensure the most efficient and proffesional systems available.
All of the people involved in the design and planning of studios have direct experience in image production on a
proffesional level and regardless of the size or scale of the job bring a desire to create the best possible images
with the resources available.
Planning including drawings
set design advice
Production of final image
Planning & Budget
Regardless of size of project it is a good idea to have some idea of the setup you will be shooting will it have a set or a simple background or chroma screen? If has a set it will help in the process of planning the studio if these ideas are shared with the lighting designer as early as possible. This will ensure that the budget is effectivley spent and will avoid unnessary waste. It will also help provide the most appropriate equipment and ensure the best images.
If your studio does not require a set, do you have a background or logo? Do you require branding or are you shooting against black? All of these scenarios will help to advise on the best combination of equipment to achieve problem free images.
In order to help us design the best solution for you please try and obtain the following information:
Number of Cameras
Is a control desk required
Is there an exisiting grid
Is there a floor plan
Is there a set design
Type of usage
In this study you can follow the process of image creation from set design to completion.
Channel S is an interesting case as we were asked to get involved after initial attempts to achieve the desired results were unsuccessful.
The main reason for the problems in this case were twofold. The first problem was the type of equipment being used did not have the properties required to deliver the quality of image as envisioned by the client. The second problem was the lack of lighting design that resulted in inapropriate placement of lighting fixtures in relation to the proposed camera positions.
Studio before lighting design is implemented
A. Architectural bulbs are tuning the set green from an over production on green contamination.
B. The desk light is emmiting a large amount of incorrect colour that was making the skin tones of the presenter a sickly cast.
C. The Key lights were hot and uncomfortable to work under in a small studio
The studio when lit for camera with the high quality fixtures applied in the correct way.
In this scenario there was some adjustment to the designers original colour concept on the set. This was done to camera with the client using good monitors to judge the results. All of the colours and skin tones are done in front of the camera with the lighting enabling the whole system to run without undue adjustment in the control room.
Analysis of finished studio
A. Softback light to subtly wrap and highlight the hair and shoulders. This separates the presenter from the background helping to create a 3D look.
B. Hi Key look using a Parabeam 400. This delivers a keyed look and also good skin texture for HD through it's unique optic. Importantly it also delivers excellant colour rendition using the KF29 bulb which is correctly heat manged within the fixture to maintain good colour.
C. Soft fill from the desk the original lights were swapped for Kino Flo bulbs to provide a colour correct fill that matches the keys.
D. The original tubes were taken away and replaced with Par 36 fixtures to light the set wall. However these were eventually replaced with Dedolights as the optical quality is better and the bulbs are less problematic.
E. A saturated blue bulb was selected from Kino Flos visual effects range to make the colours richer.
F. Dedo lights were used to create spots and accents on the set to make it more visually interesting the optical quality of these fixtures allowed this to be done from a distance.